A blog of sorts

tiffanyles said: Best Lesbian porn director and you are so hot would love to see you having Lesbian sex again.

You are so sweet! I feel like I’m most needed behind the camera but every once in a while I do perform! Thank you so much!

My nature blog

I’m working on a book of essays about the wildlife of the Palos Verdes Peninsula. It’s coming along. You can check out a few excerpts here.

“Hatred has its pleasures. It is therefore often the compensation by which a frightened man reimburses himself for the miseries of Fear.”

lesbianaplena said: you are beautiful!!!!!!!!!!!!!!

The “Path of Most Resistance?” I’ll Go That-a-Way

Jay (@bobmarleyfan32) asks:

In porn it seems like there’s a “race to the bottom,” designed only to drive away consumers. You chose a different path. Is it more difficult?

I think my ignorance of the adult industry – its politics, its hierarchies and conventional wisdoms – is the reason I was able to come in and do something different. I’d always assumed the Industry was a world of rebels where everyone kind of did their own thing, but it’s not actually like that. There are cliques; there are political systems. It’s like any other society, where the majority follows the lead of a few.

I came in at the tail end of the gonzo era, so I encountered a lot of people who weren’t used to characters or scripts or any of that. Or at least not for small shoots; maybe just at feature studios like Vivid or Wicked. And I remember everyone thought I was crazy when I told them how I wanted to shoot the sex scenes. My cameraman told me it was impossible and I was going to get in a lot of trouble for “wasting” my employer’s budget money. Everyone was expecting me to fall on my face.

Even just recently, a director got into it with me because he thinks I should shoot hardcore and soft core sex separately. But I’ve always shot them at the same time, and I think I was literally the only person doing it that way when I started. But he insists that soft core isn’t important because that audience is so small. He thinks I should focus on hardcore and just shoot some “staged” soft core afterward. I was trying to explain why I don’t do it that way and he was getting so frustrated he was practically yelling at me: “The softcore DOESN’T MATTER, don’t you understand?!”

But I have a reason for everything I do. I have a philosophy, and even when I’m exhausted and I’ve been on set 16 hours straight I won’t compromise that. Because once you start saying “it doesn’t matter” you’ve lowered your respect for the audience and for the work itself, and that’s the beginning of the end.

"I Want to Cum On Your Glasses…"

(A Poem)

You say you want to cum on my glasses

Is it your wish to

Influence my vision

To protect me from life’s harsh

realities by

blinding me

to them all

Or are you

Just a garden-variety


Where Do Your Ideas Come From and Does the End Result Generally Match Your Original Idea?

CraigDrebit (@CraigDrebit) on Twitter asks:

"Where do your ideas come from, and does the end result generally match your original idea?"

I try to keep the end result as true to the original idea as I can – barring location or other constraints. That said, I tend to envision my stories within a certain budget; I don’t let my imagination run wild. And after so many years of doing this I have a pretty clear sense of what’s possible to do and what isn’t.

But sometimes you can’t get the location you wanted or the star you wanted, and you have to compromise certain things. Other things I won’t compromise. For instance, I recently wrote a movie for Sovereign Syre and Jennifer Best that I wanted to shoot in an upscale, “urban-chic”loft space. We booked a great loft, but at the last minute the location owner decided to let a mainstream production shoot there instead, and he unceremoniously cancelled our shoot.

Jennifer had flown in from another state specifically to shoot the movie, the script was already written, the rest of the cast was in place, but suddenly we had no location. We managed to get a replacement studio but it wasn’t a loft – it was a house. My heart sank because I knew there wasn’t anything I could do, but the change in location was really nagging at me.

The loft was important to shape the audience’s perception of Jennifer’s character in the movie – without it she was almost a different character. You can tell so much about someone from their home, and the new location said something completely different about who she was.

I decided the situation was untenable, so I decided to write a new movie. And I sat there on set and wrote a completely new script while the girls were in makeup, and we shot that one. (We’re still going to shoot the“loft” movie in March, with the location I originally wanted.)

So, sometimes it’s a matter of deciding at what point a compromise sacrifices too much about the movie to even be worth whatever issues it would solve.